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Woman and Music in First World War London University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Now We've Got Our Khaki On: Woman And Music In First World War London Vanessa Williams University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, Music Commons, and the Women's Studies Commons Recommended Citation Williams, Vanessa, "Now We've Got Our Khaki On: Woman And Music In First World War London" (2017). Publicly Accessible Penn Dissertations. 2635. https://repository.upenn.edu/edissertations/2635 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2635 For more information, please contact [email protected]. Now We've Got Our Khaki On: Woman And Music In First World War London Abstract Scholarship on British perspectives on the First World War now consistently incorporates reflections on wartime labor on the Home Front, particularly on women’s roles as nurses, factory workers, philanthropists, and care-givers. However, the creative work that produced the War’s popular culture—the material and affective labor of artists and audience members—is still largely absent: artistic responses to the conflict are studied chiefly through masterpieces of elite culture that conveyed appropriately elegiac affects of mourning and that continue to perpetuate modern conceptions of the War as a monolith of male martyrdom and heroism. This dissertation bridges this gap, situating women’s music-making within contemporary national debates over the political, economic, and social ramifications of women’s wartime work. During the First World War, the affective labor of musical performance and consumption became entwined with medical care, education, social control, and anxieties over wartime gender and class roles. Performers used their musical labor not only to earn a living and provide entertainment but also to extend the possibilities for women’s involvement in wartime politics, sometimes in support of state-driven agendas, sometimes in service of alternative political and social standpoints. Using archival sources, I explore these constellations of music, wartime, and gender through four case studies: the male impersonator Vesta Tilley and her performances in character as a soldier; female musicians in music-hall orchestras, and their relationship with the Amalgamated Musicians’ Union; the United Suffragists’ Women’s Club and its musical activities of concerts, folk dancing, and gramophone records; and Lena Ashwell’s Concerts at the Front, whose performers toured across France, Malta, and Egypt. These case studies broaden the scope of scholarship on women’s experiences of the First World War, demonstrating both how popular culture was shaped by the conflict, and how performers and audiences used music-making to shape and expand their wartime roles. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Music First Advisor Jeffrey Kallberg Keywords first world war, london, music, music hall, women Subject Categories History | Music | Women's Studies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/2635 NOW WE’VE GOT OUR KHAKI ON: WOMEN AND MUSIC IN FIRST WORLD WAR LONDON Vanessa Williams A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2017 Supervisor of Dissertation ____________________ Jeffrey Kallberg William R. Kenan, Jr. Professor of Music Graduate Group Chairperson ____________________ Carol Muller Professor of Music Dissertation Committee Naomi Waltham-Smith, Assistant Professor of Music Paul Saint-Amour, Professor of English NOW WE’VE GOT OUR KHAKI ON: WOMEN AND MUSIC IN FIRST WORLD WAR LONDON COPYRIGHT 2017 Vanessa Williams Acknowledgements This project would not have been possible without the support of many people, only some of whom I can thank here. David Nicholls, Matthew Head, and Roger Parker helped me to navigate the graduate school application process, and supported my move back into the world of academia. At the University of Pennsylvania, I received particular support and kindness, as well as terrific seminars, from Emily Dolan and Guthrie Ramsey. I am grateful to my committee, Jeffrey Kallberg, Naomi Waltham-Smith, and Paul Saint-Amour, for their support and constructive criticism of this dissertation, and more generally for their patience with my development as a writer and scholar. Maryellen Malek, Margie Smith-Deeney, and Alfreda Frazier in the Music department office have helped me more times than I can count. My archival research took me across the U.K., and I thank the librarians and archivists at the Imperial War Museum, British Library, L.S.E. Women’s Library, the Cadbury Archive at the University of Birmingham, and the Archives and Special Collections at the University of Stirling. Martin Boswell, the Uniform and Equipment Curator at the I.W.M., arranged for the Lena Ashwell model to be released from its wooden crate for me; and David Reed gave me as much time as I wanted to rifle through the British Music Hall Society’s fascinating archive. During my extended stay in the U.K., Jane Clargo and her family provided much more than just a spare room for me to stay in: they gave me a home-away-from-home, with great conversation and genuine hospitality, for which I remain enormously grateful. iii This project would not have been possible without the support of my family. In particular, my mother, Jo’ Williams, read every word of this project (except for the boring ones); her desire to learn and endless consumption of books on any topic have influenced me more than I can say. My sister, Claire Winterbottom, has apparently unshakable faith in my abilities, and implemented a strong support system of lipstick and chocolate throughout this PhD. My cousin, Ann Davis, offered many words of wisdom and much-needed perspective on negotiating a PhD. Robert, Marla, and Amy Zipkin became my newest family members during this dissertation, and I am thankful to them for being a support network on this side of the Atlantic. Finally, my wife, Michele Zipkin, has borne the brunt of the ups and downs of this dissertation. She has laughed and cried with me, Skyped and visited me while I worked abroad, and through her own graduate studies has modelled determination, good humor, and clarity in writing. She has also brought me hundreds, if not thousands, of cups of tea. To all of you: endless thanks. iv ABSTRACT NOW WE’VE GOT OUR KHAKI ON: WOMEN AND MUSIC IN FIRST WORLD WAR LONDON Vanessa Williams Jeffrey Kallberg Scholarship on British perspectives on the First World War now consistently incorporates reflections on wartime labor on the Home Front, particularly on women’s roles as nurses, factory workers, philanthropists, and care-givers. However, the creative work that produced the War’s popular culture—the material and affective labor of artists and audience members—is still largely absent: artistic responses to the conflict are studied chiefly through masterpieces of elite culture that conveyed appropriately elegiac affects of mourning and that continue to perpetuate modern conceptions of the War as a monolith of male martyrdom and heroism. This dissertation bridges this gap, situating women’s music-making within contemporary national debates over the political, economic, and social ramifications of women’s wartime work. During the First World War, the affective labor of musical performance and consumption became entwined with medical care, education, social control, and anxieties over wartime gender and class roles. Performers used their musical labor not only to earn a living and provide entertainment but also to extend the possibilities for women’s involvement in wartime politics, sometimes in support of state-driven agendas, sometimes in service of alternative political and social standpoints. Using archival sources, I explore these constellations of music, wartime, and gender through four case studies: the male impersonator Vesta Tilley and her performances in character as a soldier; female musicians in music-hall orchestras, and their relationship with the Amalgamated Musicians’ Union; the United Suffragists’ Women’s Club and its musical activities of concerts, folk dancing, and gramophone records; and Lena Ashwell’s Concerts at the Front, whose performers toured across France, Malta, and Egypt. These case studies broaden the scope of scholarship on women’s experiences of the First World War, demonstrating both how popular culture was shaped by the conflict, and how performers and audiences used music-making to shape and expand their wartime roles. v Table of Contents Acknowledgements ............................................................................................................ iii Abstract .............................................................................. Error! Bookmark not defined. Table of Contents ............................................................................................................... vi List of Figures ................................................................................................................... vii Introduction ......................................................................................................................... 1 Chapter 1 “I Joined the Army Yesterday”: Vesta Tilley, Male Impersonation, and First World War Masculinities
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